Notes: Plaits is the spiritual successor of Mutable Instruments' best-selling voltage-controlled sound source, Braids. Not just an MKII version: its hardware and software have been redesigned from scratch.

Just like its predecessor, it offers direct access to a large palette of easily tweakable raw sonic material, covering the whole gamut of synthesis techniques.

Simplicity first:

Gone are the screen, menu system, hidden settings, and the long list of somewhat redundant synthesis models.

Thanks to additional CV inputs, and to the use of three timbre-shaping parameters per model, Plaits is straightforward to use, and much closer to the ideal of one synthesis technique = one model. What were fragmented islands of sound in Braids are now part of a continuum of sounds.

Ready for percussion:

Patch a trigger generator or sequencer into Plaits' trigger input and instantly use the module as a percussive source thanks to its built-in virtual low-pass gate (LPG).

An internal D (decay) envelope generator is normalled to all unpatched CV inputs. Just turn the corresponding attenuverter to add pitch, timbre or morphing modulation. And if plucks and snappy hits are not your thing, patch your own envelope or CV source into the LPG CV input.

Notes: Micro sampler offering 40 seconds of sample time, and a built-in microphone for sampling foley sounds and your own voice on-the-go. Sample any sound source using line in or the built in microphone. Melodic mode lets you play chromatic melodies and drum mode lets you play drums. Sequence it all and add effects on top.

Notes: The VT-4 is an effect processor for the instrument inside us all, the human voice. And like the human voice, the VT-4 is easy to use, yet devastatingly effective. Whether you're a solo electronic artist, DJ, or singer in a band, the VT-4 lets you craft and shape your own unique vocal sounds, from subtle augmentation to radical transformation. Everything is hands on, with no menu diving or programming to get in the way. Jaw-dropping effects like harmonizing, vocoding, pitch shifting, hard tuning, and more are just a push, slide, or turn away. And with its compact size and five-hour battery life, you can use the VT-4 anywhere.

Insanely Creative:

Today's musical styles increasingly use unusual vocal sounds with heavy processing, making them stand out and grab the listener's attention. With the VT-4, you have a wealth of modern and retro vocal effects at your fingertips, with no need to resort to a complicated setup with a computer and plug-ins. All the effects are top-notch, with everything from delay and reverb to mind-bending formant and vocoding effects. Better still, the VT-4's performance-oriented interface lets you ride the controls while you sing to constantly alter the sound to suit the track and enhance the vibe of your performance.

Be Who You Want to Be:

Great-sounding pitch and formant effects are hard to come by, especially without a computer. And real-time tweaking of these effects often results in nasty artifacts and other unpleasantness. With the VT-4 you have totally smooth, instant control over both pitch and formant, with dedicated faders for each. Dramatically change your entire persona from male to female, big to small, or good to evil - the choice is yours.

Transformative Effects:

Achieving complex vocal effects is easy with the VT-4, and you can even use multiple effects at the same time. Use the central Auto-Pitch knob to dial in just the right amount of hard-tuned effect, then press the Megaphone button for some lo-fi raunchiness. Or run the vocoder through a tape delay or vintage chorus. Each effect has a selection of one-touch variations, so you can get different vocoder characteristics, various lo-fi effects, multi-part harmonies, and distinct kinds of reverb and delay. Chain your effects, set the controls just how you like them, and then simply hold down a preset button to save that setup for later. Changing presets and tweaking controls is smooth and immediate, with no jarring artifacts, glitches, or dropouts.

MIDI Control:

The VT-4 works great on its own and can harmonize and vocode without any input other than your voice. But plugging a MIDI keyboard into the VT-4 opens even more expressive possibilities, letting you control the Auto-Pitch, harmony, and vocoder engines in real time with the notes you play. You can hard-tune your voice to specific notes as you sing, or create instant multi-part harmonies with voicings that follow your chords. The VT-4's small footprint sits nicely on most keyboards and is easy to integrate into your setup, dishing out huge backing vocals and funky vocoded leads by the bucketload.

Fun and Games

Whether it's a weekly podcast or nightly multiplayer battle, if you're broadcasting your voice on the internet, you only have so many ways to stand out. The VT-4's combination of small size, simple controls, and USB-audio capabilities make it uniquely suited to altering your voice for YouTube broadcasts, game streaming, podcasting, and more. Take on the persona of different characters in diverse locations, or sound larger than life when taunting your foes. Add humour, danger, wit, and variety to your streaming broadcasts - your imagination is your only limitation.

Notes: Born of the most famous and influential drum machines ever made, the TR-8S combines the best of its Roland heritage with modern production techniques and professional sound design. The result? A forward-thinking, performance-tuned instrument unlike any other. Build your dream kit from the most iconic drum sounds of all time, plus the finest selection of samples from our vast library - or import your own custom samples. Tap, tune, and tweak with hands-on controls and production tools that make your patterns move and groove. And why keep this kind of percussive power confined to the studio? The TR-8S was literally made to play live.

Design Kits with Authentic TR Drums, Sampled Sounds, and Effects:
The TR-8S comes loaded with the largest, most authentic collection of TR drum machines available. The powerful new processor gives our next-generation ACB models a whole new level of detail and nuance, giving you that classic Roland boom, snap, and sizzle. And now you can incorporate preset and custom samples, creating unique hybrid and layered kits, and enhance them with specialized effects that inject professional sound design into the TR formula.

Transistor Rhythms:
The TR-8S has every sound from the most sought-after TR drum machines, with detailed circuit-models of the 808, 606, 909, 707, 727, and even several modified versions. These are not sound-alike sample-packs or mere recordings of TR drum sounds. Each machine is a detailed, down-to-the-circuit-model that sounds and behaves exactly like the original hardware. All these sounds are yours, at your fingertips, and ready to use in your own productions and performances.

ACB Meets Samples:
Today's rhythm tracks require a diverse set of sounds and production techniques, and it's harder than ever to sound truly unique. While authentic TR sounds are vital for producing drum tracks, mixing and layering sounds opens a world of modern styles and the exciting potential to craft your own signature sound. Pull from the extensive collection of preset samples, or import your own mono or stereo sounds using the SD card slot. Like the TR sounds, you can deeply manipulate samples with immediate hands-on control. Adjust decay and tuning and alter sample start points, speed, and direction. You can create a kit entirely from samples or mix and match with TR sounds for genre-defying drum tracks that demand attention.

Drumatic Effects:
The right effects can make a drum part stand out by creating depth and space. Whether it's delay on a rim-shot, overdrive on a kick, filters on toms and cymbals, or just the right amount of reverb on select instruments, the TR-8S has percussion-tuned effects that simply sound great. In addition to the Master FX knob, each channel has a customizable CTRL knob, placing all this sound-shaping power within easy reach. The attack of the kick, the snap of the snare, phaser depth, distortion amount-whatever parameter you need direct and immediate access to-can be assigned to the CTRL knob or Master FX knob and saved with the kit. Both Instrument and Master Effects, along with their precise settings, are also saved with each kit, making your productions always performance-ready.

Fast, Fluid, and Fun:
You can program on the 16 TR-REC buttons or use the velocity-sensitive performance pad to play live, or record into the sequencer. And you can move seamlessly between either, playing and editing - reshaping your drum parts without ever interrupting your flow. Create intricate grooves and detailed fills using velocity, accents, flams, and adjustable sub-steps for modern rolls and ratcheting. Get experimental with unusual polyrhythms and complex meters by adjusting the length or "last step" of each drum part.

Variations on a Theme:
Keep things fresh and exciting, even during extended live sets. The TR-8S can store 128 patterns-each with eight variations and three kinds of fills-and patterns or variations can be triggered individually or chained together for evolving sequences. In performance situations, you can copy patterns on the fly and even stay ahead of the beat and work on patterns that aren't currently playing. Each pattern can include the tempo and the kit, along with its knob positions and effect settings. This gives you instant recall and enough storage and flexibility to play an entire set without ever repeating a measure in the same way.

Filling In:
Well-placed fills can create thrilling moments in a track or a live set. Each pattern in the TR-8S can contain two fills which you can customize or create from scratch. There's also an adjustable "Scatter" fill which will slice and dice a measure into short bursts of cool and controlled chaos. But at times, your hands may be too busy to trigger every fill manually. That's where Auto-Fill comes in. Automating fills every 2, 4, 8, 16, or 32 measures keeps your hands free, but also adds interesting dynamics to your performances.

Notes: The industry standard mini-key sequencer is now available in a limited edition black finish. Play polyphonic arpeggios, sync with any source, and control your hardware synths in style.

The Arturia KeyStep is a dream come true for musicians looking to unite their hardware and software.

Small enough to fit into everyone's set-up, but powerful enough to revolutionize your workflow, KeyStep is ideal for performance as well as studio experimentation. Connect to practically any hardware or software thanks to its great MIDI, CV/Gate, and sync connectivity. KeyStep lets you create polyphonic sequences on a virtual instrument in your DAW, sync with a modular drum machine using its CV connectivity, and play a melody at the same time with through an outboard analog synth.

Available for a limited time in a striking black finish, it's time for you to see another side to this versatile controller.

The time has come for you to take full control of your studio. Whether vintage analog synths or tomorrow's virtual instruments, KeyStep Black Edition has the power to tame the beast.

Packed with features to inspire your creativity, KeyStep lets you create polyphonic, evolving sequences up to 8 notes deep and 64 steps long. Combined with its ability to connect to practically any electronic instrument, you'll be able to do things you never thought possible. Create thick, lush arpeggios, record a sequence in real-time, rewrite it, edit the swing, gate length, and play a melody simultaneously on its high quality 32-note keyboard.

KeyStep Black Edition also comes complete with 3 CV/Gate cables, letting you sync up and experiment with whatever synths, sound modules, or drum machines you already own as soon as you take it out of the box. Thanks to its great connectivity, KeyStep also makes a superb MIDI-to-CV interface.

Ableton Live Lite:

An introduction to one of the most the most intuitive, popular production platforms around.

New users and seasoned pros alike love working with Ableton Live Lite. Featuring an innovative twin workflow, time stretching and pitch shifting functions, as well as numerous studio quality effects, you'll be releasing professional quality tracks in no time.

Notes: Beat making powerhouse:
Compact, rugged and to the point. Digitakt is a formidable drum machine. With an astounding feature set and an exquisite digital sound engine, the stage is set for a striking encounter.

Rhythm is a fundamental part of music. Off-kilter beats, four on the floor workouts, polyrhythmic excursions all serve the same purpose. They provide musical structure and sometimes they even make us dance.

Digitakt is a new compact drum machine from Elektron. It contains all the necessary tools to make people move to the beat. A digital and highly flexible sound engine, sampling capability, a live-friendly sequencer, the means to control external MIDI gear. Round it off with a super crisp OLED screen and wonderfully tactile back-lit buttons. Done deal.

Drum machines are something of an Elektron speciality. With the Digitakt we show why.

Complete computer integration:
Overbridge is a breakthrough technology. It allows Elektron analog instruments to be handled as software plugins. Your computer has become a new gateway to the unmatched sound of true hardware.

Full plugin control:
Shape your sounds and handle your patches with precision. The instrument specific software plugins are intuitive and beautifully designed, making analog circuitry more accessible and easier to manage than ever.

Audio streaming:
Record multiple Elektron machine voices to your computer. Or add warmth to DAW tracks with the analog circuitry of the Elektron machines. Always in complete sync at all times. One USB cable is all it takes.

Total recall:
All sound settings on an Elektron machine can be automatically recalled when you load a DAW project. It is quick, easy and simply works. Overbridge offers ultimate convenience. It is a time saver.

Notes: With 11 reverb types and a ton of "hidden" functionality, the Electro-Harmonix Oceans 11 reverb pedal could be your new go-to reverb pedal. You can tap into classic tones like hall, plate, and spring reverbs, including a brand-new spring reverb algorithm that sounds gloriously complex and rich - you can even double-tap the footswitch to "crash" the spring reverb. And you'll be able to cover a huge range of modern tones with a variety of modulated reverbs, shimmer reverb, reverse reverb, and more. A mode switch offers access to variations on many of the 11 reverb types. Complete with an infinite reverb mode for freeze-style effects, there is vast creative potential in the Electro-Harmonix Oceans 11 reverb pedal.

Notes: The Beyerdynamic DT 770 Headphones 80 Ohm are closed back dynamic headphones that use the same comfortable, sound isolating design as the 250 Ohm studio version, but with a lower resistance for general purpose and mobile applications. Because of the lower resistance, the DT 770 Pro 80 Ohm headphones are louder and work on low power devices such as smart phones, MP3 player, laptops and bus powered interfaces. Therefore, if you are working in a loud environment or using a battery operated device, the Beyerdynamic DT 770Pro 80 Ohm headphones make the perfect choice of headphone.

When out and about, you really need to block as much ambient noise out as possible and a lot of headphones do this by clamping the ear-pads as tightly to your ears as possible and using materials that absorb a lot of sound. This produces two unwanted issues; discomfort, after prolonged use; and a loss of audio quality as sound being generated by the driver is absorbed by the cup. The DT 700 Pro series avoids this by using a clever bass reflex system and a large circumaural cup design with velour pads. Of course the real technology is in the transducer itself, which produces a nominal frequency response of 5Hz to 35kHz and a nominal SPL of 96dB, an exceptional performance.

Building on the original 'Pamela's Workout', this new evolved model maintains the original's form factor and intuitive workflow but greatly improves on and adds many new features with upgraded hardware, a new OLED display and rewritten software.

Each output is now able to provide not just clocked triggers but also rhythmic waveforms with many parameters controllable directly and via assigning to external CV control. Pamela has grown beyond a clever clock and now provides almost limitless synced modulation possibilities.

Improvements have been made to overall clock stability and integration with external clocks and devices. Also new are dedicated MIDI and Din Sync clock outputs available via optional expander modules.

Notes: A high quality MIDI cable for connecting music controllers and devices together. Strong and flexible cable comes with low loss conductors and global shielding ensure a clean data stream. It is terminated at each end with a 180- 5-pin DIN plug.

Notes: The tools we use to compose and produce music are dear to our hearts. The studio elements of dust, smoke and liquid have taken many a good groovebox down over the years. This is where Decksaver steps in. Precision trimmed for perfect fit whilst accommodating cables, the TR-8S can sit ready for operation. Slides straight into a flight or soft case for maximum protection during transportation. Shields delicate controls and internal components from damage at home, on the road and on stage.

Notes: VCAs are the cornerstones of modular patches: shaping the amplitude or timbre of a tone with an envelope, animating a mixture of several oscillators, controlling the amount of filter modulation with a random source or a touch controller, applying an envelope on the linear FM signal hitting an oscillator... are all possible uses of these super versatile building blocks. That's why you never have enough of them.

What about four more?
Veils provides four VCAs with an adjustable response curve. Veils' outputs are daisy-chained, allowing adjacent groups of 2, 3, or all 4 channels, to be mixed together.

Notes: The world's favourite small-format, versatile step sequencer just got a makeover. Control analog gear, virtual instruments, and more with the black limited edition BeatStep.

The perfect combination of space-saving, flexible control and an easy-to-master sequencer, BeatStep Black Edition gives both musicians and producers access to their DAW and exciting news ways of creating sequenced beats and melodies.

The perfect precision weapon when it comes to finger drumming and sample triggering, BeatStep lets you unite your hardware and software instruments with its built-in step-sequencer. A streamlined, yet versatile hybrid controller, BeatStep Black Edition features a rack of pads for programming and performance, transport buttons for playback control in your DAW, and rotary knobs to tweak your sequence. Thanks to its great connections, you can get your outboard synths and drum machines playing perfectly with your DAW, all while being sequenced or synchronized by the BeatStep.

Small enough to work in any setup, but powerful enough to bring a new dimension to your sound. Let BeatStep Black Edition unleash the potential of your setup.

Deceptively versatile, the new limited edition black version of our iconic small controller is the perfect companion for producers on the move or musicians with limited space.

BeatStep Black Edition's pads are both velocity and pressure sensitive, letting you punch in dynamic rhythms in your DAW. Once you're happy with your performance, you can tweak the sounds and parameters of your software instruments with its control mode, letting you freely assign the knobs, buttons and pads within your DAW. In sequencer mode, you can create 16-step monophonic sequences using the pads to punch in notes and the knobs to edit the pitch. To streamline your workflow, BeatStep also lets you choose from a selection of scales and sequence modes.

Analog Lab Lite:

Imagine conveniently having all the keyboard and synth sounds you need for a gig or session all in one place on your computer. No racks. No stacks.

Analog Lab Lite gives you streamlined, tag-based access to hundreds of the hottest presets from our award-winning V Collection. You'll be spoilt for choice with 17 faithfully modelled legendary analog synths, digital workstations, organs, string machines and pianos. Each preset automatically maps the most important sound parameters to Arturia controllers for intuitive tweaking and performance control, and you can easily custom map to any other controller via the MIDI Learn feature.

Ableton Live Lite:

An introduction to one of the most the most intuitive, popular production platforms around.

New users and seasoned pros alike love working with Ableton Live Lite. Featuring an innovative twin workflow, time stretching and pitch shifting functions, as well as numerous studio quality effects, you'll be releasing professional quality tracks in no time.

Step Sequencer:

In SEQ mode the pads become toggles for each step in your sequence. The 16 encoders will adjust pitch for the associated step. 16 memories allow for instant recall of your favourite patterns while the pad scale modes, sequence playback modes and time division functions allow for real-time performance changes.

On top of all that it has MIDI, USB and CV/GATE connectivity, giving you a sequencer that will work with all types of gear, including analog synths, software instruments, and MIDI hardware.

Percussion Controller:

With 16 velocity- and pressure-sensitive pads, BeatStep is the perfect compact percussion instrument. The ultra-sensitive pads allow for great dynamic performances. The 16 encoders can be assigned to adjust various parameters for further real-time control over your drum sounds.

General purpose control surface:

The BeatStep pads can be configured to send MIDI note on/off messages, MMC commands, Program and Bank changes, or serve as MIDI CC buttons.

With 16 encoders, 16 pads/buttons and 16 presets, there are as many ways to use BeatStep as there are live gigs and studio environments. You can trigger clips in Ableton Live or use the encoders to adjust the effects in your favourite DJ app. The transport buttons can be MMC controls or send MIDI CCs to start and stop your DAW. It can be the MIDI Clock master or slave to an external clock.

Using an iPad and a camera connection kit, you can turn BeatStep into one of the most flexible iPad app controllers ever.

Notes: The MIDI Solutions Quadra Thru is a 1 in 4 out MIDI Thru Box. All MIDI messages appearing at the input are sent to all four Thru outputs. Active circuitry cleans up any skewing of MIDI data bits that has occurred at the input, ensuring reliable operation in setups that require daisy chaining or long cable runs.

The Quadra Thru is MIDI powered, and requires no batteries or power supply to operate with most MIDI products (see FAQs - Power and FAQs - LED for more information). A MIDI indicator LED lights up when the product is powered and flashes when MIDI data passes through it.

Notes: High grade cable comprises an insulated pure copper core and global shielding. The durable PVC sheath has a soft texture and is reinforced with cotton cord to avoid tangling. Terminated at one end with a female XLR connector and a 1/4" TRS stereo jack at the other end.

Notes: Marbles is a source of random gates and voltages, which offers an extensive amount of (voltage) control on all the different flavours of randomness it produces.

The module gives the musician many different ways of imposing structure on the random events generated by the module: synchronization to external clocks, control of the repetition or novelty of the generated material, quantization of the voltages, or randomization of gates or voltages generated by traditional sequencers.

T: The random gate generator

Marbles either follows its own internal clock, or locks onto an adjustable multiplication/division of an external clock (or regular rhythmic pattern). This regular clock is perturbed by a process simulating an musician playing along a click and trying to catch up on their errors - from perfect accuracy to complete chaos.

From this imperfect master clock, a 2-channel random rhythm is generated, using one of the following processes: random coin toss (similar to Branches), random ratcheting, or random drum pattern generation (similar to a randomly modulated Grids).

X: The random voltage generator

This generator produces 3 channels of random voltages, each of them clocked by the individual outputs of the t section, or by a common external clock signal.

Complete control on the distribution of the output voltages is provided: concentrated or spread-out, quantized or unquantized, smoothed or steppy, centred or biased towards a specific voltage. The same transformations can be performed on an external CV, for sample-and-hold or shift-register operation.

An auxiliary slowly fluctuating random voltage output (Y) is also available for self-patching fun!

A feeling of deja-vu:

Marbles remembers the history of every recent clock deviation, rhythm or voltage it has generated. The DEJA VU knob on the panel controls the probability of reusing past material instead of sampling fresh random data.

You are thus given control on the feeling of repetition and structure in the generated random voltages and rhythms. At the extreme, the module no longer generates any novel values and loops over the same pattern (or a random permutation of it). And of course, this (variably) random looping can be performed on external CVs!

Not because all these behaviours have been pre-programmed in the module, but because it allows you to describe your own modulations in terms of basic operations: ramp from one voltage to another, hold a voltage at a set level, wait for a trigger and slew. With or without looping.

Whether you need one complex envelope, or several simpler modulations, Stages reconfigures itself according to which of its gate inputs are patched. There is always a role for it in your patch.

The module detects the presence of jacks on its gate inputs to group its segments: whether it is configured as a complex 6-stage envelope, or 6 individual envelopes, or 3+3, 2+4... depends simply on how you patch it. Dummy patch cables might come handy!

When used as a multi-segment envelope, a segment activation signal is produced on all secondary outputs - for example to trigger an external event when an ADSR envelope enters its decay, sustain or release stages.

In case more than 6 segments are required, up to six modules can be chained together thanks to a connector at the back of the module.

Three segment types:

- Ramp segments go from one voltage to another, in a CV-controlled amount of time, with an adjustable curve (accelerating, uniform, decelerating). They are the building block used for the attack, decay or release segments in envelopes... or for LFOs.
- Hold segments stay at a constant (but CV-controllable) voltage for a programmable amount of time. They serve as the sustain or hold segments in envelopes.
- Step segments glide to a target (CV-controllable) voltage, then stay at this voltage for a certain amount of time until a trigger is received. They are the main ingredient for step sequences, but also for building sequential switches or a sample-and-hold.

Looping:

A segment, or a group of segments, can loop on itself: if the last segment of the envelope is included in the loop, the loop lasts forever. Otherwise, the loop remains active while the gate is high, then continues past the last segment of the loop. These two behaviours allow the creation of self-looping envelopes (LFOs), or the sustain stage of a good old ADSR envelope!

Single segment processing:

Even when they aren't part of any group and don't receive any gate or trigger signals, individual segments can perform interesting functions: Ramp can loop on itself and turn into an LFO, Hold can delay a CV and Step can slew it.

Now patch a trigger signal: the self-looping Ramp turns into a tempo-synced LFO, the Hold segment becomes a pulse generator, the Step segment a sample-and-hold.

Notes: The Quad VCA is a compact and feature packed module that is sure to find its way it almost all of your patches. In addition to being used for standard VCA duties it can also be used as a mixer and signal booster.

Features:

- Manual LEVEL control per VCA which is convenient when using the module as a mixer or for biasing when CV modulating the VCA with a bipolar LFO.
- Dedicated CV attenuators with dual colour LEDs for monitoring bipolar CV signals.
- Continuously adjustable response from linear to exponential per VCA.
- Each CV input is normalled to the adjacent one for cascaded control.
- Each output is normalled to the mix input of the adjacent one which allows you to use adjacent sets as submixes or the fourth output can be used as a master mix output when none of the other outputs are patched.
- Each VCA has a boost switch that increases the output level by approximately +6dB (double).

Notes: Packed with more power than pedals taking up more real estate, the compact Canyon features a collection of awe-inspiring effects. From pristine digital delay to warm and warbly tape echo, reverse and modulated delays, cascading octave delay and shimmer... even an exquisite Deluxe Memory Man emulation. There are ten different effects in all plus a fully featured looper. Internal or external Tap Tempo with tap divide and a chasm full of intuitive secondary knob controls deliver a truly grand experience.

Notes: The DT 770 Pro is a closed dynamic headphone and has been designed for critical music and sound monitoring. The single sided cable makes the handling of the headphone easy. The cushion system allows the DT 770 Pro to be used comfortably for long periods of time.

The circumaural design with velour cushions and adjustable headband makes the DT 770 headphones really comfortable, even over prolonged periods. The DT 770 250Ohm version is designed for the studio, delivering a higher impedance and a slightly more accurate response than the 80Ohm versions. The higher impedance also means you can safely use multiple headsets from the same source.

The 2 most common complaints when mixing using closed back headphones are that they are uncomfortable and don't produce enough bass, leaving mixes overly compensated (see the FAQ further down for the reasons why). The answer to first problem is to buy open back headphones, but they are no good for recording purposes and may not solve the second issue of bass response. Fortunately, the DT 770 Pro tackle both these problems, delivering an impressive nominal frequency response of 5Hz-35kHz using their innovative bass reflex system with a very large cup and velour cushions that let air through but not sound, thus reducing pressure.

Notes: How does it work and why do I need one:
The iLok is a special USB device that holds your licenses for iLok-enabled software. Software publishers use the iLok to provide secure protection for their software. When you run their iLok-enabled software, it looks for the software license on your attached iLok.

The Third Generation iLok:
Smaller, faster, and with even greater capacity, the new iLok is here! The Third Generation iLok is fully compatible with software created for the second generation iLok. With its smaller form factor and metal body, it is more robust and less prone to casual damage.

iLok Benefits:
- It's portable - you can authorize your software anywhere it is installed. At home, work, or at a remote location, you can keep your software licenses with you, not on your computer.
- It's convenient and cross-platform - Store your Mac and Windows iLok-enabled software licenses all on a single iLok. A Third Generation iLok can hold over 1500 licenses.
- Worry Free - Your licenses are on the safest, most secure solution: the iLok. With Zero Downtime protection available, you've got 24/7 peace of mind.

Managing your licenses has never been so easy. Using the iLok License Manager application, you can:
- View what is on your iLok(s)
- Download new licenses from participating software publishers
- Manage your licenses, including moving them between iLoks within your account and from your iLoks back to your account
- Transfer licenses to other iLok.com accounts

What do I need in order to use my iLok?

In order to use an iLok, you'll need at least 3 things:
- Your iLok
- A license for the iLok-protected software you want to run (you'll need to have the publisher place this license in your account or send you an Activation code)
- The software that is iLok protected (usually a download from the Publisher's or retailer's website, we do not host those on this site)

Anything else?

Your iLok will need special License Support software in order to talk to the protected software. Your protected software most likely installed this special software, but you can always get the latest version of this software by installing the iLok License Manager.

Notes: The module is built around high quality VCA chips from THAT Corp, as well as low noise opamps. It offers clickless muting and equal loudness panning. The distinct feature is that voltage control is dynamically compressed should it yield clipping when pushed too hard. Also, in both modes the attenuators offer full closing of the corresponding channel, regardless of being controlled by the CV, or not. The VCAs fully open (0dB gain) at CV=8V in Env mode and CV=5V in LFO mode. All the input and output signal levels are Eurorack levels.

Multiple Praga units can be chained thanks to dedicated headers on the back. The mixed stereo sum of each unit in the chain is added to the mixing bus of all units downstream.

Notes: The Attenuator Cable is a cable with one jack input socket on one side, an output socket on the other side and a slider in the middle that gives the user the opportunity to attenuate both CV and audio signals traveling between modules. You simply connect a 3,5mm patch cable to the input socket of the Attenuator Cable and connect the output jack plug to any input of your liking. You can use the slider in the middle of the cable to attenuate and adjust the signal, easy peasy! The cable design has been optimized to function with any CV or audio signal and with all known and widely available 3,5mm jack cables.

Fully assembled field kit for experimenting with electro acoustic sound

Notes: The new KOMA Elektronik Field Kit is the perfect tool for everyone who would like to experiment with electro acoustic sound. Use everyday objects, amplify them and use them to make sound, like our heroes John Cage and David Tudor used to do!

The Field Kit is optimized to process signals from microphones, contact microphones, electromagnetic pickups and able to run DC motors and solenoids. On top of that it can receive radio signals and convert signals from switches and sensors into control voltage!

Let's get more detailed...

The Field Kit boasts 7 separate functional blocks all focussed on receiving or generating all types of signals. They are designed to operate together as a coherent electroacoustic workstation or alternatively together with other pieces of music electronics with the ability to use control voltage signals.

The Four Channel Mixer is the beating heart of the Field Kit, providing a fully functional mixer with individual Gain, Mix Level and Tone control over each channel and individual Master- and Aux sub-mixes.

The level of the Master and Aux Channels can be set with the Master Volume and Aux Volume controls and the channels being sent to the Aux sub-mix can be set with dedicated Aux Select-buttons. The Aux sub-mix is pre-fader.

The CV Radio is a CV-controllable radio receiver capable of receiving radio frequencies on AM/FM and SW bands. Additionally it provides the ability to catch electromagnetic waves for further processing inside the Field Kit. The frequency of the radio can be set with a dedicated multifunctional Search-control which acts both as a manual CV-source and as an input attenuator for a CV-signal.

The Envelope Follower in the Field Kit applies two functions to the waveform you send to the input: full-wave rectification (mirroring of negative portions of the waveform) and low-pass filtering (averaging). It can also be used for frequency doubling of a signal, which is a great tool to have in the electroacoustic domain.

The Low Frequency Oscillator generates periodically varying voltages to be used as control signals. The output waveform can be set with a three-position Waveform-control and gives out either a Square-, Triangle- or a mix of Square and Triangle waveforms.

A very cool function of the Field Kit is the DC Interface. You can use its output voltages to run little motors, fans, solenoids, buzzers and control them with control voltage signals. You can pick up the vibrations and electromagnetic waves with the contact microphones and electromagnetic pickup.

The Signal Interface is a nifty toolset to transform the raw signals of a wide variety of sensors and switches into signals that can be used with the Field Kit or other gear. This means you can trigger or control sound by light, heat, humidity, distance, speed, acceleration, proximity, pressure, force, level, all depending on what type of switch or sensor you are using! Ideal for sound installations!

Notes: It's all about the things you connect to the The Field Kit! To get you started, Koma Elektronik have decided to offer an Expansion Pack with a bunch of different sources that you can use and connect to create your own signature sounds.

The Expansion Pack contains:

- 2 x Contact Microphones: Use these contact microphones to pick up vibration or sound, they are an amazing versatile input source
- 1 x Electro-Magnetic Pickup: This guy is good at picking up changes in magnetic fields, you can use it to amplify a string like a guitar pickup or amplify a spinning motor
- 1 x Solenoid push-pull motor: Use the solenoid to hit things, together with the DC Interface the solenoid can make anything rhythmical and percussive
- 1 x DC motor: The Motor can be used to rotate things or as a noisy oscillator together with the Electro-Magnetic Pickup
- 1 x small speaker: Use the speaker to listen to the main mix or as a sound source and to feedback sounds
- 3 x patch cables Always handy to have around to patch up different parts of your Field Kit... and a bunch of little objects to play with (little springs, marbles)

The new KOMA Elektronik Field Kit is the perfect tool for everyone who would like to experiment with electro acoustic sound. Use everyday objects, amplify them and use them to make sound, like our heroes John Cage and David Tudor used to do!

The Field Kit is optimized to process signals from microphones, contact microphones, electromagnetic pickups and able to run DC motors and solenoids. On top of that it can receive radio signals and convert signals from switches and sensors into control voltage!

Audio is faithfully reproduced with no distortion and complete phase linearity, regardless of sound level. You're able to hear every detail, from incredibly deep lows to well-defined mids and crystal-clear highs.

The IE 40 Pro in-ear monitors are the perfect way for musicians and sound engineers to monitor live performances. Enhance your performance by being able to clearly hear backing tracks and personalised mixes.

The Sennheiser IE 40 Pros come supplied with silicone and foam earbuds, a cleaning tool and a soft carry pouch.

Notes: High quality audio leads for exceptional sound quality and reliability. High grade twin cable comprises an insulated pure copper core and global shielding. The durable PVC sheath has a soft texture to avoid knotting. Terminated at one end with a pair of RCA phono plugs and at the other end with 2 x 6.3mm mono jack plugs.

Notes: The Chord cable lead is the high quality audio lead for exceptional sound quality and reliability. The high grade cable comprises 2 insulated pure copper cores and global shielding. The durable PVC sheath has a soft texture and is reinforced with cotton cord to avoid tangling. Each end is terminated with a pro-quality 6.3mm stereo (TRS) jack plug.

Notes: High quality audio leads for exceptional sound quality and reliability. High grade twin cable comprises an insulated pure copper core and global shielding. The durable PVC sheath has a soft texture to avoid knotting. Terminated at one end with a pair of RCA phono plugs and at the other end with 2 x 6.3mm mono jack plugs.

Precision moulded for an exact fit whilst accommodating cables, your Push 2 can sit ready for operation. Slides straight into a flight case or controller bag ready for transportation. Shields delicate controls from damage in the studio, in transit and on stage.

Notes: When the classic MS-20 analog synthesizer appeared in 1978, it had a trusted partner in the SQ-10 step sequencer. Now, after thirty years, the MS-20 has been reborn as the MS-20 mini, and the SQ-10 has evolved into the more modern SQ-1.

The SQ-1 is a compact step sequencer with 2 x 8 steps. It's wealth of connection jacks allows it to be connected to the MS-20 and a variety of other synthesizers. Vintage analog synths or the latest compact synths can be controlled from this single unit. You can also switch between a variety of synthesizer modes and use the step buttons to create performances overflowing with spontaneity, just as when using a volca unit.

Liberate yourself from the numerically-bound parameter editing that's typical on a DAW; you'll enjoy truly musical inspiration as you train your ears and concentrate on what your fingertips are doing. Don't miss the experience of music that's driven by your instinct.

Rather than the commonly used V/Oct standard, the CV design of the MS-20 always used the Hz/V standard that provides excellent pitch stability limiting the step sequencers that are able to correctly control the MS-20. As a descendant of the SQ-10, the SQ-1 supports the Hz/V standard, enabling it to perfectly control the MS-20 or MS-20 mini. It goes without saying the V/Oct standard is also supported, and the voltage level of the CV output and polarity of the GATE output can be specified as appropriate for the device you've connected. This versatility will enable you to control a wide variety of other synthesizers as well.

As a connector, the SQ-1 provides two CV/GATE OUT channels, the standard MIDI OUT and USB MIDI, littleBits out (to connect to the littleBits synth kit by littleBits Electronics Inc.), plus the SYNC IN/OUT channel that allows you to connect to the volca series and monotribe. Compact and complete with all the functions you need, the SQ-1 is the ideal hardware sequencer.

The SQ-1 provides two channels (A and B) of 8-step sequencer that can operate consecutively, or be used in a variety of other modes. For example, you can run A and B following each other to function as a 16-step sequencer, ignore the order and make the steps play randomly, or use A and B to control different parameters as they run in parallel. From simple sequences to complex changes, you can choose from a variety of modes to suit your needs.

The 2 x 8 step buttons can be used in the usual way to turn notes on/off, but you can also use the MODE button to switch their function, opening up powerful possibilities such as letting you "perform" the sequence itself, as on a volca unit.

"Active Step" lets you skip steps mid-way through a sequence, and "Step Jump" lets you instantly play just the step that you press, producing irregular rhythms or effects that are reminiscent of short loops. "Slide" produces an effect in which steps are connected smoothly; using this to control a synth bass is an easy way for anyone to generate an acid sound.

Packed with carefully selected functionality, the SQ-1 features a compact and very sturdy sheet-metal body. Placed beside the MS-20 series, you'll notice a sense of solidity that gives the impression they were manufactured in the same era. The unit can operate on two AA batteries or on USB bus power.

Notes: The Volca Mix is a four-channel analogue performance mixer that lets you construct a live setup combining multiple Volca units.

Volume faders are easy to control, plus crisp-sounding LO/HI CUT filters, and a master chain that radically transforms the sound. In addition to the sync function found on all Volcas, there are also DC output connectors that can supply power for up to three Volca units. Numerous functions to facilitate your on-stage Volca performances have been packed into a high-quality aluminium-panelled body, reminiscent of a high-end DJ mixer. The Volca Mix will unlock the maximum potential of the Volca series.

An analog mixer for performance:

The Volca Mix is a four-channel analog mixer with an intuitive interface and plenty of connectivity. It provides two mono inputs and one stereo input, perfect for connecting three Volca units. The jacks are mini-jacks, allowing you to make connections with just one stereo mini-cable from the headphone out of each Volca unit. The channel volumes use vertical faders that allow precise control. The gain can be boosted to adjust the mix balance, and mute buttons are also provided. Each channel is also equipped with a LO/HI CUT filter that lets you control the low and high frequency ranges with a single knob. The pristine, natural-sounding filters that you expect from analog gear give you complete control over the character of your sound.

Output and monitor capabilities for use on stage, plus stereo speakers for maximum portability:

The output section provides RCA stereo line outputs to ensure stable connection. There's a master volume with LED VU meter for adjusting the output level, as well as a headphone output that can be used simultaneously with the line output, providing a reliable monitoring environment on stage. Speakers are also built-in for excellent portability. The stereo speakers are placed at both sides of the front, and while compact, deliver SPL levels that are even greater than the built-in speakers on previous Volca units.

Powerful master chain:

The Volca Mix is equipped with master effects powered by all-analog circuitry. In addition to an expander that broadens a mono source into a stereo sound image, there's a dynamic range compressor that compresses the high-frequency range according to level changes of the low-frequency region, as well as a side chain effect that's indispensable for dance music. Use these to dynamically vary the mix, adding a professional feel to live performances with the Volca.

Connect an external effect unit for further variety:

The Volca Mix provides a stereo mini-jack send out and AUX in jack, and send level knobs for each channel. This allows you to use it with an external effect unit in a send/return connection. When used in conjunction with a unit such as the mini Kaoss pad 2S, you can also enhance your live performances using standard effects such as reverb, delay, filter, and break. The AUX in jack can also be used as a stereo input channel for a fourth Volca unit, an iOS app, or any other gadget, instrument, or device.

As the master of your Volca live setup:

The Volca Mix features an analog sync out jack that can easily be connected to many pieces of KORG gear for tempo sync, and also a play button and tempo knob to control that sync signal. By using the Volca Mix as the sync master device of your live setup, you can easily enhance your live performance, such as simultaneously playing sequences from multiple synced units, and combining mute and volume control to create performances that use your Volca units in even more ingenious ways.

Notes: An ultra-affordable leap into the warm world of analogue synthesis, the BEHRINGER Neutron gives you the power to create virtually any monophonic sound imaginable with incredible power and ease.

The pure analogue signal path is based on the legendary V3340 VCO chip with 5 variable oscillator shapes. Blend or switch the 2 oscillators and 5 LFO shapes for unique sound creation. For protection and convenience, the Neutron can even be mounted in a standard Eurorack, making it ideal for the studio and/or the road. Owning a Neutron gives you all the power of a monster modular synthesis system in a flexible package with the ability to create bewildering, complex sounds.

When a sound system is properly tuned, it becomes powerful, balanced and efficient. Bass content is punchy and tight, with vocals and instruments that are rich, crisp and well defined. The CX3400 crossovers accurate signal processing protects critical loudspeaker components and improves overall system efficiency. All Input and Output connections are balanced/unbalanced XLR and feature 25 Hz Low Cut filters for low-frequency driver protection plus off Mute and Phase Invert switches, making troubleshooting even a large system virtually effortless!

Chances are if you're reading this, you already know what a crossover is and you know that you need one. But if you are new to multi-way PA systems, here's a brief overview. Loudspeakers (which we call transducers) convert electrical signals into sound waves. And no matter how well a transducer is designed or made, it simply cannot reproduce the entire audio spectrum all by itself. Low-frequency sounds tend to push a transducer to the maximum, making it impossible for that same transducer to reproduce the treble content with the sound quality it deserves. (Try singing high falsetto next time you're bench-pressing your limit!) That's why high-quality sound systems use multiple speakers (woofers and tweeters) to spread out the work. While the woofer (usually the larger transducer) does all the heavy lifting, the tweeter can easily handle the high-frequency content. Three and four-way systems distribute the work even more, allowing the individual transducers to reproduce the frequency range for which they were designed. It is the crossovers function to divide these tasks between the various amplifiers and transducers.

The CX3400 provides three modes of operation: 2-way stereo, for Left and Right Lows (woofers) and Highs (tweeters); and 3-way stereo, for Left and Right Lows, Mids and Highs; and 4-way mono, for Lows, Low-Mids, High-Mids and Highs. For your convenience, the CX3400s front panel features an elegant and easy-to-read LED matrix, so you can see at a glance which operating mode has been selected and which controls are currently active.

When a driver radiates into open space via a horn, its efficiency increases. Over the past few years, constant-directivity horns have gained widespread popularity, since they are designed to produce consistent dispersion over their entire frequency range however, the higher the frequency, the lower the efficiency. To compensate for this, the CX3400 includes a switchable pre-EQ for CD horns that ensures a fl at frequency response, even before equalisation is applied. This pre-EQ raises the signal gain by 3 dB at 3.5 kHz, which then increases by 6 dB/oct. up to 22.5 kHz.

Notes: The Morphagene is a next generation tape and microsound music module that uses Reels, Splices and Genes to create new sounds from those that already exist. Search between the notes to find the unfound sounds.

A few of the Morphagene's most basic uses: Splice recorded audio and jumble it using ORGANIZE. Manipulate playback speed and direction with Vari-Speed. Granularize with Gene-Size and Slide. Layer or Stagger Genes using MORPH. Undertake iterative music processes by recording manipulations and overdubs into new Splices, like having two machines (one for Playback and modulations, one for Record). Process sound in real time using Time Lag Accumulation. Utilize envelope following CV OUT and EOSG Trigger to engage Morphagene in conversation with the rest of your modular system. Stretch and squash sound with Clock input.

Upgraded memory performance offers an increase from 1.45 minutes to 2.9 minutes of record time.

If you are using Splices that are over 1 minute long the SLIDE parameter will be scanning across a massive amount of material and therefore the longer the Splice the longer it will take to get to where you are Sliding toward. Imagine a tape machine shuttling forward or backward to get to your desired destination. No we cannot change this, the MG is scanning as fast as possible. This new double record time firmware will make this even more of a factor.

Read and Write times will be MUCH longer when you have a Full 2.9 minute reel. So for example, if you decided to erase a 5 second Splice in the middle of a 2.9 minute reel it will take twice as long as before because the MG must re-write the entire 2.9 minute reel. Of course all of this is happening in the background and should not cause too much hassle. Still when that SHIFT button is flashing it is best to not perform more SD Card actions.

For most granular processing Splices of 10 seconds or less are recommended.

So why even bother increasing record time to 2.9 minutes? Well it allows for storing even more Splices on a Reel and it also makes it possible to record long portions of a patch for later arranging within your DAW. You could potentially capture a patch, including modulations of a shorter Splice (say 10 seconds), retrieve the sound from the SD Card and compile into a larger work using your DAW.

Notes: The 0-COAST is a single voice patchable synthesizer. Its name reflects the fact that it utilizes techniques from both the Moog and Buchla paradigms (aka "East Coast," and "West Coast," due to their locations), but is loyal to neither and thus implements "no coast synthesis."

While the 0-COAST utilizes classic modular synthesis techniques, it's designed to operate with or without the use of patch cables. The necessary connections have been made from circuit to circuit so it operates as an expressive, musical MonoSynth. Using only the MIDI controller of your choice you could apply new timbres to your existing musical forms!

Using the included Patch Cables you could get more scientific, experimenting with new ways to wire up the circuits. You might even forgo MIDI altogether, disappearing into a cloud of analog FM induced Sidebands and harmonics scattered around a single fundamental drone that has nothing to do with any form of music you've ever known.

Notes: Plonk uses a technique known as physical modelling to synthesize, with great realism, the way in which sound is produced by acoustic instruments. The Plonk module is, itself, focused primarily on creating percussive sounds - both pitched and un-pitched; natural and unnatural; acoustic-sounding or totally electronic.

Plonk does this by breaking sound creation into two distinct elements - the exciter and the resonator. The exciter is a mathematical model of the device used to strike a particular surface. Plonk, because it's percussion oriented, has two types of exciters: one modelled on a mallet, and the other providing a noise source. The resonator is a virtualization of the object being struck, which vibrates, resonates and creates the body of a sound. Plonk offers several types of resonators: beam; marimba; drumhead; membrane; plate; and string.

Plonk provides numerous parameters that let you shape, mould and design both the exciter and the resonator, thus enabling you to synthesize the sound of striking or scraping almost any type of object - real or imagined. In this way, Plonk can accurately model the sounds of kicks, snares, toms, cymbals, claps, tablas, congas and all manner of traditional percussion instruments. It can also model pitched percussive instruments, like vibes, marimbas, and even bass or guitar-like tones. Of course, it additionally excels at modelling instruments that heretofore never existed.

Best of all, the sounds created by Plonk are not static - any sound you design can respond dynamically to velocity, as well as four different modulation inputs. This means the sound of Plonk can change completely from note-to-note (or strike-to-strike). Because of this, Plonk is actually a duophonic (2-voice) module, which lets the sound of one note decay naturally when a second note (possibly employing an entirely different set of modelling values) is struck. Thus, hitting a new note does not choke the sound of the previously struck note (unless you want it to, of course)!

Plonk stores up to 128 patches in its internal memory, and ships with many presets programmed by professional sound designers and composers. You may overwrite these patches if you wish, and banks of patches may be transferred via MIDI System Exclusive over Plonk's built-in mini-USB port to facilitate offline storage by programs or websites that support this capability.

Plonk was developed in cooperation with Montreal-based Applied Acoustics Systems - physical modelling pioneers, and the creators of Tassman, Lounge Lizard, String Studio, Ultra Analog, Chromaphone and numerous other plugins. It is with great pleasure that Intellijel brings the potential of this physical modelling technology to a hands-on, CV-laden device capable of the sort of dynamic control and sonic exploration that modular synthesists demand.